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Poster: light into ashes Date: Jul 2, 2011 2:02pm
Forum: GratefulDead Subject: Re: Late 73 vs Summer 74

Yes, the Dick's Pick does have an unfortunate disc flip...and you can't hear the audience responding at all; it's like the band are playing in a void!

When Phil was asked in '90 why there was so little crowd noise on the Dead's live albums, he said he didn't like hearing it on recordings. (And he even complained a bit that the Dead couldn't play super-quietly because the general decibel level at a show was too high.) So the band seems to have preferred that playing-in-a-void sound when recording for themselves...

As I've mentioned before, Weir later felt that the Dead's jams in '74 were getting TOO ingrown and losing the audience... But I think there's still an untold story in how the Dead continued to develop their jams from '74-'76 - there is definitely a straight line of growth there, which gets obscured by the break in touring, and the change in sound & style - but '75 was a very innovative year for the Dead's jams (though less of that made it to the stage), and sometimes in late '76 they're hitting the same jazzy freestyle spots they were traveling in '74.

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Poster: Space Jogger Date: Jul 2, 2011 3:03pm
Forum: GratefulDead Subject: Re: Late 73 vs Summer 74

Speaking of '75 jams, I was pretty excited to get King Solomon's Marbles at three Furthur shows I went to the past couple years. Every time the band would be soaring and then derail the jam somehow. I think at Amherst, MA '10, half the band started playing the change and the other half didn't, which took some time to recover from. In Boston this year I thought they were going to nail it, but then Chimenti pretty much wrecked the jam with some prolonged dissonance for some reason.

I guess my point is the Dead were so "inbred" in the early and mid '70s they could pull those deep interplay jams off. If a band's chemistry is less than 100%, than it's not that easy to do.

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Poster: bkidwell Date: Jul 2, 2011 2:35pm
Forum: GratefulDead Subject: Re: Late 73 vs Summer 74

Phil's perspective is entirely understandable, especially as a classical musician, where audience etiquette is just an entirely different universe! I actually feel the same way, as a general rule - The Screaming Guy is usually a big bummer. People usually stereotype the later-day megadead audience as the worst in this regard, but the audience had its obnoxious members on quite a few early era tapes as well. Some wall of sound auds show audience members who regarded the atonal jams as an invitation to hoot and whistle. Perhaps some were psychedelic voyagers who thought they were entering into the spirit of thing with their contributions.

Sometimes there is a bit of an edge to the stage banter even in the early days.

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Poster: Space Jogger Date: Jul 2, 2011 3:15pm
Forum: GratefulDead Subject: Re: Late 73 vs Summer 74

I love the edgy banter from 8/6/74(Picks 31) after Eyes where Bobby says "Stop climbing on the fence you idiot...." and goes on to explain the sharp wire on the fence and the danger of getting cut, but if you listen real close you can hear some guy in the crowd yell "Fuck You" in response Bobby. Cracks me up every time.